Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer (...) of 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Malm and colleagues (2008) consider (and reject) five arguments putatively justifying the idea that healthcare workers (HCWs) have a duty to treat (DTT) during a pandemic. We do not have sufficient...

We concur with Baum and colleagues (2009) on the importance of pandemic planners taking explicit steps to employ public engagement methodologies. Thus far, as Baum and colleagues note, there have b...

A twenty‐person working group convened to discuss the ethical and policy considerations of the controversial intervention called “growth attenuation,” and if possible to develop practical guidance for health professionals. A consensus proved elusive, but most of the members did reach a compromise.

Since Darwin, the idea of psychological continuity between humans and other animals has dominated theory and research in investigating the minds of other species. Indeed, the field of comparative psychology was founded on two assumptions. First, it was assumed that introspection could provide humans with reliable knowledge about the causal connection between specific mental states and specific behaviors. Second, it was assumed that in those cases in which other species exhibited behaviors similar to our own, similar psychological causes were at (...) work. In this paper. we show how this argument by analogy is flowed with respect to the case of second-order mental states. As a test case, we focus on the question of how other species conceive of visual attention, and in particular whether chimpanzees interpret seeing as a mentalistic event involving internal states of perception, attention, and belief. We conclude that chimpanzees do not reason about seeing in this manner, and indeed, there is considerable reason to suppose that they do not harbor representations of mental states in general. We propose a reinterpretation model in which the majority of the rich social behaviors that humans and other primates share in common emerged long before the human lineage evolved the psychological means of interpreting those behaviors in mentalistic terms. Although humans, chimpanzees, and most other species may be said to possess mental states, humans alone may have evolved a cognitive specialization for reasoning about such states. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Layers of Seeing and Seeing through Layers: The Work of Art in the Age of Digital ImageryLouisa Wood Ruby (bio)Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was (...) subject throughout the time of its existence. This includes the changes which it may have suffered in physical condition over the years as well as the various changes in its ownership.—Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, 1936In consulting on or creating a Web site designed to use works of art for teaching purposes, it is extremely important to be aware of the differences between seeing an artwork “in the flesh” and in reproduction. Museum educators are highly aware of this disparity and are therefore eager to have students visit museums to experience authentic works of art instead of seeing them only in books, slides, or on Web sites. Already in 1936, Walter Benjamin called attention to the drawbacks of reproductions; his words resonate all the more in our age of digital image overload. Easy access to images is, of course, desirable, and the advanced technologies we now have can even aid our understanding of a work of art. Nonetheless, the physical experience of standing in front of a work of art can never be replicated by seeing it on a flat screen or a piece of paper. In this article I will examine the advantages, disadvantages, differences, and similarities between looking at a Web-based image of a Rembrandt painting, a photograph of a Rembrandt painting, and actually standing in front of one of his original works. I will also discuss the more advanced technologies for examining paintings and how they can help us “see” further into a work of art and increase our understanding of it. [End Page 51]When standing in front of a painting, you are seeing a three-dimensional object with a history of its own. Its nicks, the dings in its frame, its true colors and texture, its exact size, the quality of the brushstrokes, and the amount of paint are all visible to the careful observer, who stands in a long line of viewers over the centuries who have appreciated the artist’s achievement. When approached from different angles, a painting in real space can even seem to vary in the mood it conveys or the impression it gives. A striking demonstration of this phenomenon occurred during a recent visit to the Metropolitan Museum of Art, when Rika Burnham, a museum educator, divided our Rembrandt Project group in half and asked us to look at Rembrandt’s 1660 Self-Portrait from different angles and describe the sitter’s mood. When we compared notes, our impressions of the painting were so different that an outside listener would have thought we were looking at two completely different paintings. We then switched angles, and our respective impressions changed dramatically. Effects of light (shadows, highlights, color) and interpretations of elements in the painting, such as the hand or the hat, had been affected by the angle from which we had approached the work, and these minor adjustments had significantly altered the way we “read” the painting.This kind of experience is of course not possible when looking at a photograph of a work of art. A photograph can be very useful and can usually tell you much about a painting, but, unfortunately, the photograph itself is an object that was taken at a specific time and place, under specific circumstances that might or might not be ideal for capturing the essence of what it is trying to reproduce. Because the angle from which a photograph is taken remains static, it only allows us to experience the painting from one direction, under the given set of lighting conditions. Other problems abound. Two color reproductions of a given painting will more than likely offer wildly different color tonalities because photographs and reproductions in many publications imperfectly correct for color. Lighting of the painting may... (shrink)

Originally published between 1982 and 1991 the 3 volumes in this set Reflect the diversity in Hegelianism and every branch of philosophy which he contributed to. Examine Hegel's work in relation to Marx and Wittgenstein Discuss Hegel's social theory Examine British Hegelian thinking and the lines of its development Offer an interpretation of Hegelian theory that is relevant for the understanding of modern republican constitutions.

Reissuing works originally published between 1949 and ‘79, this set presents a rich selection of renowned scholarship across the subject, touching also on ethics, religion, and psychology and other behavioural science. Classic previously out-of-print works are brought back into print here in this set of important discourse and theory.

The thirteen titles in this mini-set include works by some of the most well-known scientists and medical professionals of the twentieth century: Daedalus by J B S Haldane, Eos, or the Wider Aspects of Cosmogony by J H Jeans, Archimedes, or the Future of Physics by L L Whyte and the The Conquest of Cancer by H W S Wright to name but a few. Ground breaking in their day, some of the works remain controversial nearly 100 years after their (...) original publication. (shrink)

This 20 volume Routledge Revivals collection brings together a selection of groundbreaking Philosophy titles, from the rich and diverse Routledge backlist. With titles published between 1933 and 1991, this is a truly wide-ranging selection, encompassing works by distinguished authors such as: Simone Weil, Hilary Putnam, Franz Brentano, Anthony Kenny, Karl Jaspers and Israel Scheffler. Dealing with everything from the notion of freewill, to concepts of time and space, to theories of morality, this set offers a collection of the best of (...) Routledge publishing in the field of Philosophy from across the Twentieth Century. Please note that all titles have been previously available for sale individually through the Routledge Revivals programme. (shrink)

The lecture is an argument for a marriage of theory and experience. It contains something old, something new, something borrowed and something true. The argument is that the dichotomy between science and art, between theory and experience is resolved and the components unified when the role of consensus in the acceptance of theory and the conception of experience is made clear. Moreover, the unification achieved brings with it a method for unifying the empiricism of Moritz Schlick1 with the consensualism of (...) Otto Neurath.2 In earlier work, I developed a mathematical model of consensus with Carl Wagner. That work concerned the aggregation of probabilities by weights of respect assigned by members of a community to each other that converged toward a consensual probability. The convergence depended on connectedness among the members of the group in terms of positive weights. We thought of the probabilities as probabilities of scientific theories or hypotheses. The process converging toward consensus was mathematically equivalent to finding consensual weights to be assigned to members of the group that could be used as a measure of competence and expertise. The consensual weights can be applied to find consensus concerning factors other than probabilities. The use of probabilities was in fact an incidental, though formally well articulated, application of the underlying aggregation of weights to obtain convergence toward consensual weights. (shrink)

This interview was conducted on 8 October 2011 at the Van Abbemuseum, Eindhoven. It was held during a symposium that reflected on the work of Rancière and was a part of a broader engagement with the concept of autonomy and its relation to art organized by an umbrella group of universities and arts organizations under the name of ‘The Autonomy Project’. A number of the symposium’s participants – Peter Osborne, Gerald Raunig, Isabell Lorey, Ruth Sondregger, Kim Mereiene and (...) Adrian Martin – contributed questions that formed the basis of this interview. The interview took place at a time when the longer-term possibilities of the Arab Spring and Occupy/Indignados movements were under general scrutiny. It was also a moment when the Van Abbemuseum itself was compelled to reflect on its own position of political autonomy in relation to neoliberal state directives, political populism at the local level and its own critique of aesthetic autonomy. Rancière’s work on aesthetics and politics has been as much appreciated as a clearance strategy against prevailing visual prejudices as it has served as a platform for rethinking the emancipatory potential of creative practice. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for (...) the public good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

Adults spend most of their conscious life speaking, comprehending, writing, and reading discourse. It is entirely appropriate for cognitive science to investigate discourse especially as transmitted texts or printed media, such as books, newspapers, magazines, and computers. However, there is another reason why text understanding has been one of the prototypical areas of study in cognitive science: Interdisciplinary work is absolutely essential. As cognitive scientists have unraveled the puzzles of text comprehension, they have embraced the insights and methodologies from (...) several disciplines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art Education and the Emergence of Radical Art Movements in Egypt: The Surrealists and the Contemporary Arts Group, 1938–1951Patrick Kane (bio)So it wasn’t the aim of the artist to just toss out a work of art. A tradition of the exhibition of the natural, and its meaning was not that it fled from life, but that it had penetrated and plunged into reality. Its meaning was not (...) a prescription or plain exercise in the taste of the sublime, or harmony of forms and charming scenes; and its meaning was not as a decoration of life; it was in its expression of what life inspires in us to give back.—Henry Moore, as quoted by Ramses Yunan, in “The Aim of the Contemporary Artist”1In these crucial days of difficulty, the artists in this country live in tall aristocratic towers.... For this peasant has an art of his own that sustains him, and it is not that art of the educated class.—Kamil Al-Tilmisani (c. 1941–1942)By 1938, as the agrarian crisis in Egypt deepened, the Depression, food shortages, low wages, expropriations of crops, and forced rents opened a polemic among Egyptian intellectuals over the role of the state and the looming threat of fascism. With the dismissal of the government of Mustafa Al-Nahas at the end of 1937, the political turbulence underscored the weakening of the Wafd Party. Opponents of the old Wafdists and supporters of the monarchy resorted to openly fascist tactics, including the establishment of youth organizations and the Blue Shirts, the fascist front of the young Wafdists who modeled themselves on Mussolini’s Black Shirts. The serial crises of agrarian struggles and parliamentary stalemates between [End Page 95] nationalists and monarchists led to increasingly militant stances by the paramilitary fascist organization Misr Al-Fattah (Young Egypt) as a counter to the Muslim Brothers. When Mahmud Khalil resigned from the Wafd and assumed the presidency of the Senate in 1938, his ascension opened a new phase of struggle in politics through culture and the arts.2 In this context, caricatures and satirical sculptures of Khalil appeared in 1939 that parodied him as the icon of a “dictatorship of art.”3 Leading intellectuals from all political stances addressed these issues directly. The cultural journals were peppered with articles on the problems of everyday life and the material crises with such representative titles as ‘Abbas al-Aqqad’s “Food for the Rich,” in which he raised the problem of food shortages and inequity as an issue for reform.4 Within the year, articles in Al-Risala and Al-Thaqafa drew comparisons with French and Italian nineteenth-century landscapes as a model for the recognition of the countryside as a subject. In journalism and the arts, suffering became a part of the recognition of the everyday, as articles appeared on Millet’s nineteenth-century paintings of French peasants.As the war in Europe encroached into the cover pages of Egypt’s cultural journals, Zaki Muhammad Hasan wrote an essay for Al-Thaqafa entitled “The Angelus,” with a reproduction of the 1859 painting by Jean Francois Millet (1814–1874).5 Hasan wrote about Millet’s interest in the “the daily labors of the peasant” as a depiction of the conditions of French peasants. Hasan’s mention of Millet’s own peasant origins, and his listing of paintings of social conditions, including Les Glaneuses (The Gleaners), reflected a broadening interest in the artistic subject of the peasant and the rise of the peasant as artist. Although in Millet’s painting there is a prayer scene of a man and a woman in the fields that is generally regarded as the evening prayer with the sun setting, an Egyptian reader could link the prayer with the issue of workers taking breaks in the fields at a time when the issue of compensation of peasant farm workers was paramount.6 Hasan introduced “The Angelus” to his readers as a Catholic prayer in southern Europe offered at dawn, noon, and sunset and compared the origins of the prayer’s stanzas from the Gospel of Luke 1:28–31 with passages from the chapter on Maryam in the Quran... (shrink)

In this paper, we contribute to research on enterprise artificial intelligence (AI), specifically to organizations improving the customer experiences and their internal processes through using the type of AI called machine learning (ML). Many organizations are struggling to get enough value from their AI efforts, and part of this is related to the area of explainability. The need for explainability is especially high in what is called black-box ML models, where decisions are made without anyone understanding how an AI reached (...) a particular decision. This opaqueness creates a user need for explanations. Therefore, researchers and designers create different versions of so-called eXplainable AI (XAI). However, the demands for XAI can reduce the accuracy of the predictions the AI makes, which can reduce the perceived usefulness of the AI solution, which, in turn, reduces the interest in designing the organizational task structure to benefit from the AI solution. Therefore, it is important to ensure that the need for XAI is as low as possible. In this paper, we demonstrate how to achieve this by optimizing the task structure according to sociotechnical systems design principles. Our theoretical contribution is to the underexplored field of the intersection of AI design and organizational design. We find that explainability goals can be divided into two groups, pattern goals and experience goals, and that this division is helpful when defining the design process and the task structure that the AI solution will be used in. Our practical contribution is for AI designers who include organizational designers in their teams, and for organizational designers who answer that challenge. (shrink)

Simple Heuristics That Make Us Smart invites readers to embark on a new journey into a land of rationality that differs from the familiar territory of cognitive science and economics. Traditional views of rationality tend to see decision makers as possessing superhuman powers of reason, limitless knowledge, and all of eternity in which to ponder choices. To understand decisions in the real world, we need a different, more psychologically plausible notion of rationality, and this book provides it. It is about (...) fast and frugal heuristics--simple rules for making decisions when time is pressing and deep thought an unaffordable luxury. These heuristics can enable both living organisms and artificial systems to make smart choices, classifications, and predictions by employing bounded rationality. But when and how can such fast and frugal heuristics work? Can judgments based simply on one good reason be as accurate as those based on many reasons? Could less knowledge even lead to systematically better predictions than more knowledge? Simple Heuristics explores these questions, developing computational models of heuristics and testing them through experiments and analyses. It shows how fast and frugal heuristics can produce adaptive decisions in situations as varied as choosing a mate, dividing resources among offspring, predicting high school drop out rates, and playing the stock market. As an interdisciplinary work that is both useful and engaging, this book will appeal to a wide audience. It is ideal for researchers in cognitive psychology, evolutionary psychology, and cognitive science, as well as in economics and artificial intelligence. It will also inspire anyone interested in simply making good decisions. (shrink)

So it wasn’t the aim of the artist to just toss out a work of art. A tradition of the exhibition of the natural, and its meaning was not that it fled from life, but that it had penetrated and plunged into reality. Its meaning was not a prescription or plain exercise in the taste of the sublime, or harmony of forms and charming scenes; and its meaning was not as a decoration of life; it was in its expression (...) of what life inspires in us to give back. In these crucial days of difficulty, the artists in this country live in tall aristocratic towers. . . . For this peasant has an art of his own that sustains him, and it is not that art of the educated class. By 1938, as the agrarian crisis in Egypt .. (shrink)

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one of (...) two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

American Academy of Pediatrics (AAP) and American College of Medical Genetics (ACMG) recently provided two recommendations about predictive genetic testing of children. The Clinical Sequencing Exploratory Research Consortium's Pediatrics Working Group compared these recommendations, focusing on operational and ethical issues specific to decision making for children. Content analysis of the statements addresses two issues: (1) how these recommendations characterize and analyze locus of decision making, as well as the risks and benefits of testing, and (2) whether the guidelines conflict (...) or come to different but compatible conclusions because they consider different testing scenarios. These statements differ in ethically significant ways. AAP/ACMG analyzes risks and benefits using best interests of the child and recommends that, absent ameliorative interventions available during childhood, clinicians should generally decline to order testing. Parents authorize focused tests. ACMG analyzes risks and benefits using the interests of the child and other family members and recommends that sequencing results be examined for additional variants that can lead to ameliorative interventions, regardless of age, which laboratories should report to clinicians who should contextualize the results. Parents must accept additional analysis. The ethical arguments in these statements appear to be in tension with each other. (shrink)

The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of (...) a fit genome in males. I argue that while assortative mating may well have had a role in the evolution of "the art instinct", group selection is a better explanation. I also take issue with Dutton's "cluster concept" approach to defining art, and argue that it is a universal and essential characteristic of art that it is appreciated both for what it expresses and for the way that it expresses. It thus requires a reflexive capacity that is not operative in the appreciation of sport spectacles and pornography. (shrink)

In three volumes, a distinguished group of scholars from a variety of disciplines in the natural and social sciences, the humanities and the arts contribute essays in honor of Robert S. Cohen, on the occasion of his 70th birthday. The range of the essays, as well as their originality, and their critical and historical depth, pay tribute to the extraordinary scope of Professor Cohen's intellectual interests, as a scientist-philosopher and a humanist, and also to his engagement in the world (...) of social and political practice. Science, Mind and Art, Volume III of Essays in honor of Robert S. Cohen focuses on issues in contemporary epistemology, aesthetics, and philosophy of mind as well as on the relations of science and human values in ethical and religious thought. It also has important new work in contemporary metaphysics, as well as in the history of philosophy, and on questions of multiculturalism in science education. Contributors include Paul Feyerabend, Adolf Grünbaum, Joseph Margolis, Joëlle Proust, Erazim Kohak, Elie Wiesel, Miriam Bienenstock, and John Silber, among others. (shrink)

In recent decades there has been a significant increase in community rehabilitation programs for people with mental health conditions. One such nationwide programs is Amitim in Israel whose mission is to foster the psychosocial rehabilitation of people with mental health conditions in the community. Amitim’s flagship program consists of arts-based groups that integrate participants with mental health conditions and non-clinical community members. To better understand the experiences of participants in these arts-based groups, five focus groups were conducted with participants from (...) 15 integrated arts-based groups. In total, 17 people with mental health conditions and 21 non-clinical community members were interviewed for this qualitative study. Three main themes emerged from the thematic analysis: creation and expression through the arts promote well-being, self-disclosure in a safe space encourages a sense of belonging, and “we are all in the same boat.” The participants underscored the role of creation and expression through the arts in facilitating emotional expression, self-discovery, interpersonal communication, and spiritual elevation. The findings suggest that the facilitators should instill a sense of equality by enabling intergroup acquaintances without labeling participants’ mental health status. Integrated arts-based groups should be accompanied by a mental health professional who can contain and work through complex emotional situations when needed. Arts therapists who specialize in both arts and mental health are particularly suitable for this role. Overall, the interviewees reported that participation in the integrated arts-based groups positively impacted their personal recovery processes by providing a corrective experience of equality as well as enhancing a sense of belonging to the community and social relationships. The participants also reported being empowered by the final artistic event that not only enhanced their sense of visibility, competence, and aspirations for future development in personal, interpersonal, and artistic realms, but also helped to combat both self- and public stigma. (shrink)

Over the last 25 years, there has been an increasing fascination with the “dark” side of leadership. The term “destructive leadership” has been used as an overarching expression to describe various “bad” leader behaviors believed to be associated with harmful consequences for followers and organizations. Yet, there is a general consensus and appreciation in the broader leadership literature that leadership represents much more than the behaviors of those in positions of influence. It is a dynamic, cocreational process between leaders, followers, (...) and environments, the product of which contributes to group and organizational outcomes. In this paper, we argue that, despite this more holistic recognition of leadership processes within the broader leadership literature, current conceptualizations and analyses of destructive leadership continue to focus too heavily on behaviors and characteristics of “bad” leaders. In our view, to achieve a more balanced understanding of destructive leadership, it is important to adopt more integrative approaches that are based in the contemporary leadership discourse and that recognize flawed or toxic leaders, susceptible followers, and conducive environments as interdependent elements of a broader destructive leadership process. To this end, we offer a critique of the destructive leadership literature, propose a broader definition of destructive leadership, and highlight gaps in our understanding of leaders, followers, and environments in contributing to destructive leadership processes. Finally, we conclude by discussing strategies for examining destructive leadership in a broader, more holistic fashion. (shrink)

There are concerns that the socioeconomic consequences of COVID-19, including unemployment and financial insecurity, are having adverse effects on the mental wellbeing of the population. One group particularly vulnerable to socioeconomic adversity during this period are those employed freelance within the cultural industry. Many workers in the sector were already subject to income instability, erratic work schedules and a lack of economic security before the pandemic, and it is possible that COVID-19 may exacerbate pre-existing economic precarity. Through interviews (...) with 20 freelancers working within the performing arts, visual arts, and film and television industries, this article explores the impact of the pandemic on their working lives. Findings suggest the pandemic is affecting the psychological wellbeing of freelancers through employment loss, financial instability and work dissonance, and illustrates the need for urgent economic and psychosocial support for those employed within the cultural sector. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Despite their recent proliferation in global agricultural commodity chains, little is known about the potential of intersectoral partnerships to improve the position of smallholder farmers and their organizations. This article explores the potential of partnerships by developing a conceptual approach based on the sustainable livelihoods and linking farmers to market perspectives, which is applied in an exploratory study to six partnerships in the coffee sector in Peru. It is concluded that partnerships stimulate the application of standards to receive market access (...) and therefore emphasize human capital development of farmers to facilitate certification. By transferring knowledge to farmers, partnerships present a new source of technological change, which, in combination with certification, holds potential for improved environmental management and price premiums for producers. However, the emphasis on certification results in a comparatively narrow target group of farmers and is associated with high financial burdens for producer organizations. At the same time, other assets of producer organizations are often not strengthened sufficiently for them to operate successfully without further external support. This suggests that preparing producers for certification is prioritized over empowering organizations toward self-dependence. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and (...) political philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

Art and Interpretation is a comprehensive anthology of readings on aesthetics. Its aim is to present fundamental philosophical issues in such a way as to create a common vocabulary for those from diverse backgrounds to communicate meaningfully about aesthetic issues. To that end, the editor has provided selections from a wide variety of challenging works in aesthetic theory, both classical and modern. The approach is often cross-disciplinary. Within the discipline of philosophy it seeks to balance readings from the analytic tradition (...) with continental European, hermeneutical postmodern (including deconstructionist), and feminist readings. The anthology is thus broadly conceived, but by grouping the readings into sections such as ‘Expression and Aesthetic object,’ ‘Psychology and Interpretation,’ ‘Marxist Theory,’ and ‘Culture, Gender, and Difference,’ it aims as well to provide depth of coverage for each topic or issue. The book opens with a historical section containing substantial selections from Plato, Aristotle, Hume, Kant, Shelley and Nietzsche; these readings introduce themes that recur and are developed in the remainder of the anthology. (shrink)

ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, (...) Surrealism's artists began to conscript the concepts and imagery of modern physics into their work only at the end of the 1930s. Focusing on two “second generation” Surrealist painters, the Chilean Roberto Matta and the Viennese Wolfgang Paalen, this article discusses the peculiar difficulties faced by artists in finding a language for the “new reality” revealed by the physicists, and argues that the relocation of Surrealism in a discursive field which includes quantum physics discloses the rationale behind its artists' shift to a semi-abstract language. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. (...) In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 53-66 [Access article in PDF] Art Selection, or the Preservation of Artworks in the Struggle for Art Christopher Perricone The argument of George C. Williams's book Adaptation and Natural Selection is against what biologists call the group selectionist view — that individuals will act on behalf of their species, or at least on behalf of the group to which they (...) belong.1 Williams showed, and now most biologists agree, "no creature could ever evolve the ability to help its species at the expense of itself. Only when the two interests coincided would it act selflessly."2 According to Matt Ridley, Williams is one of the towering figures in contemporary biology. Williams helps us to understand better what natural selection is and consequently helps us to understand better our place in the world. Williams claims that when we are dealing with life, "we are forced to invoke natural selection to achieve a complete explanation of an observed system."3 Physics and chemistry alone are not sufficient to explain life. Williams gives the example of a falling apple. If one has to explain the trajectory of the apple, the principles of mechanics are sufficient for providing an adequate explanation of the phenomenon. If, however, we were asked how the apple acquired its various properties, and why it has these properties instead of others, we would need the theory of natural selection, at least by implication. Only thus could we explain why the apple has a waterproof wax on the outside...why it contains dormant embryos....We would find that an impressive list of structural details and processes of the apple can be understood as elements of a design for an efficient role in the propagation of the tree from which it came."4Of course, a little over a hundred years before Williams published his book, Charles Darwin published Origin of Species, in which natural selection is the linchpin of his theory of evolution. Natural selection for Darwin not only helped to explain the competitive climate of the living world but its luscious fecundity as well. Natural selection works like this: Let's say you [End Page 53] have a population of large beaked and small beaked birds. The environment in which the birds live provides them with an abundant and nutritious supply of both large and small seeds. Typically the small beaked birds eat the small seeds. The large beaked birds are capable of eating both small and large seeds. However, a blight occurs killing off all the small seed producing trees causing the food supply of the small beaked birds to diminish to virtually nil. Given that the small beaked birds are unable to feed on the continued supply of large seeds, they are selected out or eliminated from that environment: either they must seek out another environment, or they die. The large beaked birds, however, are in this case more adaptable to the environment because they can eat large seeds, survive, and pass on their largebeaked traits to the next generation. Darwin characterizes this process as "the struggle for life." He says: Owing to this struggle, variations, however slight and from what ever cause proceeding, if they be in any way profitable to the individuals of a species, in their infinitely complex relation to other organic beings and to their physical conditions of life, will tend to the preservation of such individuals, and will generally be inherited by the offspring. The offspring, also, will thus have a better chance of surviving, for, of the many individuals of any species which are periodically born, but a small number can survive. I have called this principle, by which each slight variation, if useful, is preserved, by the term Natural Selection, in order to mark its relation to man's power of selection. But the expression often used by Mr. Herbert Spencer of the Survival of the Fittest is more accurate, and is sometimes equally convenient.5Darwin sums up his discussion of natural selection by saying that the idea explains... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 53-66 [Access article in PDF] Art Selection, or the Preservation of Artworks in the Struggle for Art Christopher Perricone The argument of George C. Williams's book Adaptation and Natural Selection is against what biologists call the group selectionist view — that individuals will act on behalf of their species, or at least on behalf of the group to which they (...) belong.1 Williams showed, and now most biologists agree, "no creature could ever evolve the ability to help its species at the expense of itself. Only when the two interests coincided would it act selflessly."2 According to Matt Ridley, Williams is one of the towering figures in contemporary biology. Williams helps us to understand better what natural selection is and consequently helps us to understand better our place in the world. Williams claims that when we are dealing with life, "we are forced to invoke natural selection to achieve a complete explanation of an observed system."3 Physics and chemistry alone are not sufficient to explain life. Williams gives the example of a falling apple. If one has to explain the trajectory of the apple, the principles of mechanics are sufficient for providing an adequate explanation of the phenomenon. If, however, we were asked how the apple acquired its various properties, and why it has these properties instead of others, we would need the theory of natural selection, at least by implication. Only thus could we explain why the apple has a waterproof wax on the outside...why it contains dormant embryos....We would find that an impressive list of structural details and processes of the apple can be understood as elements of a design for an efficient role in the propagation of the tree from which it came."4Of course, a little over a hundred years before Williams published his book, Charles Darwin published Origin of Species, in which natural selection is the linchpin of his theory of evolution. Natural selection for Darwin not only helped to explain the competitive climate of the living world but its luscious fecundity as well. Natural selection works like this: Let's say you [End Page 53] have a population of large beaked and small beaked birds. The environment in which the birds live provides them with an abundant and nutritious supply of both large and small seeds. Typically the small beaked birds eat the small seeds. The large beaked birds are capable of eating both small and large seeds. However, a blight occurs killing off all the small seed producing trees causing the food supply of the small beaked birds to diminish to virtually nil. Given that the small beaked birds are unable to feed on the continued supply of large seeds, they are selected out or eliminated from that environment: either they must seek out another environment, or they die. The large beaked birds, however, are in this case more adaptable to the environment because they can eat large seeds, survive, and pass on their largebeaked traits to the next generation. Darwin characterizes this process as "the struggle for life." He says: Owing to this struggle, variations, however slight and from what ever cause proceeding, if they be in any way profitable to the individuals of a species, in their infinitely complex relation to other organic beings and to their physical conditions of life, will tend to the preservation of such individuals, and will generally be inherited by the offspring. The offspring, also, will thus have a better chance of surviving, for, of the many individuals of any species which are periodically born, but a small number can survive. I have called this principle, by which each slight variation, if useful, is preserved, by the term Natural Selection, in order to mark its relation to man's power of selection. But the expression often used by Mr. Herbert Spencer of the Survival of the Fittest is more accurate, and is sometimes equally convenient.5Darwin sums up his discussion of natural selection by saying that the idea explains... (shrink)

This special issue explores the significance of collectivism in modern and contemporary Japanese art. Japanese artists banded together throughout the twentieth century to work in collectives, reflecting and influencing each evolution of their culture. Illuminating the interplay between individual and community throughout Japan’s tumultuous century, the contributors to this issue examine both the practical internal operations of the collectives and the art that they produced. One contributor studies the art societies of prewar imperial Japan, whose juried art salons defined (...) a new _nihonga_ painting tradition. While recent scholarly work on art produced during World War II has tended to neglect the collectivist tradition, this issue covers wartime groups like the Art Unit for Promoting the Munitions Industry and the important questions they pose about the relationship between artists and the state. Art collectives in post-occupation Japan gained prominence working in the experimental vanguard of the global art scene in painting, sculpture, design, and intermedia projects. Adding a crucial dimension to the study of Japanese art and modernism, this issue explores how these groups attempted to accommodate the creative paradox of individualism within collectivism. _Contributors: Maki Kaneko, Kuroda Raiji, John Szostak, Miwako Tezuka, Ming Tiampo, Reiko Tomii, Alicia Volk, Midori Yoshimoto Reiko Tomii_ is an independent art historian and curator in New York. She is coauthor of _Xu Bing_. _Midori Yoshimoto_ is Associate Professor of Art History and curator of two galleries at New Jersey City University. She is the author of _Into Performance: Japanese Women Artists in New York_. (shrink)

PurposeTo explore the mindfulness practice, its long-term effects, facilitators and barriers, in clinical clerkship students 2 years after participation in an 8-week mindfulness-based stress reduction training.MethodA qualitative study was performed by semi-structured in-depth interviews with 16 clinical clerkship students selected by purposive sampling. Students had participated in a MBSR training 2 years before and were asked about their current mindfulness practice, and the long-term effects of the MBSR training. Thematic analysis was conducted using the constant comparison method. Data saturation was (...) reached after 16 interviews.ResultsMost interviewees were still engaged in regular, predominantly informal, mindfulness practice, although some discontinued mindfulness practice and reported an “unchanged lifestyle.” Three main themes came forward; “focused attention and open awareness” during daily activities as core elements of long-term mindfulness practice; “changes in behavior and coping” that resulted from taking a pause, reflecting, recognizing automatic behavioral patterns and making space for a conscious response; “integration in personal and professional life” by enhanced enjoyment of daily activities, improved work-life-balance and making different career choices. Barriers and facilitators in starting and maintaining mindfulness practice were understanding and intention as “pre-conditions”; practical, personal, and professional factors of students in maintaining practice.ConclusionTwo years after participation in a MBSR training, many interviewees were still engaged in mindfulness practice contributing to both personal and professional changes. In light of the high clerkship demands, MBSR training could be a valuable addition to medical curricula, supporting medical students in developing necessary competencies to become well-balanced professionals. (shrink)

ObjectivesThe present study explores the effect of visual art training on people with dementia, utilizing a randomized control trial design, in order to investigate the effects of an 8-week visual art training program on cognition. In particular, the study examines overall cognition, delayed recall, and working memory, which show deficits in people with dementia.MethodFifty-three individuals with dementia were randomly assigned into either an art training or usual-activity waitlist control group. Overall cognition and delayed recall were assessed with the Montreal (...) Cognitive Assessment, and working memory was assessed with the Backward Digit Span task.ResultsThere were no group differences in overall cognition, or working memory, while a difference in delayed recall was undetermined, based on post-test—pre-test difference scores. Groups were comparable at baseline on all measures.ConclusionThe measures of cognition, delayed recall, and working memory used in this study were not affected by an 8-week visual art training program.Clinical Trial Registrationwww.ClinicalTrials.gov, identifier NCT03175822. (shrink)

The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems - money, logos, corporate names, stamps - to create intimate situations among the participants. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process poetry; (...) Bauhaus versus COBRA; Fluxus publications, kits, and machines; mail art and on-sendings. The encyclopedic scope of the book includes discussions of artists from J. Beuys to J. S. G. Boggs, and Bauhaus's Max Bill to Anna Freud Banana. -- Publisher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le vite (...) de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

The Russian philosopher and cultural theorist Mikhail Bakhtin has traditionally been seen as the leading figure in the group of intellectuals known as the Bakhtin Circle. The writings of other members of the Circle are considered much less important than his work, while Bakhtin's achievement has been exaggerated in proportion to the downgrading of the thinkers with whom he associated in the 1920s. This volume, which includes new translations and studies of the work of the most important (...) members of the Circle, sets out to correct the distortions in the established representations of its activity. The original contributions to literary and linguistic theory made by Valentin Voloshinov and Pavel Medvedev (but frequently credited to Bakhtin) are assessed, and the distinctiveness of their approaches is highlighted. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Teaching in the MuseumRika Burnham (bio) and Elliott Kai-Kee (bio)A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itselfand of our reasons for studying it. The class has been anything (...) but passive—indeed, it has been lively. The painting is The Abduction of Europa (1632), a picture that depicts in delicate detail a story from Greek mythology, the kidnapping of the Phoenician princess Europa by Zeus in the guise of a white bull. The visitors have shared their observations, speculations, ideas. As the class concludes, the museum educator asks the participants to speculate on the painting's larger meaning, to say what they think this work is, finally, about, as revealed by their long discussion. The group's experience has clearly moved beyond the telling of a single story. One participant suggests that Rembrandt's work is about the fearlessness of traveling into the unknown. Another says that it concerns the story of the soul's leaving the earthly for the heavenly realm. When the class comes to an end, people move closer to the painting and continue their discussions.In the same museum, another museum educator is also conducting a group of students through the galleries. He begins with a Roman statue of Venus, followed by an eighteenth-century French terra-cotta bust of Madame Récamier by Joseph Chinard. For each sculpture, he asks the students to focus on only one detail, the hands. The students are encouraged to observe and take note of the sculpted figures' gestures, much as if they were studying a person. Time seems to slow as perception sharpens. The educator listens patiently as the students begin to "read" the sculptures as a whole through the expressiveness of the hands. The group moves on to a mysterious portrait by Millet in which the students discuss the nature of love, and [End Page 65] then to a painting of a Russian princess by Winterhalter, in which the artifice of all the details is suddenly theatrical, dazzling, and delightful. At the end, no one wants to leave.As museum educators we teach in many kinds of programs, and teach in many ways. Every museum educator brings unique gifts to the art of teaching through works of art. The two classes described above might seem at first glance quite different. The first museum educator stays with a single work of art for the entire session, constructs her class around the observations and ideas of the students, and trusts that through their collective experience, a larger meaning will emerge. The second educator inspires his students with a feeling of confidence by guiding their observations of a single feature common to several works, and then allows a main idea to emerge. The two classes, however, are also alike in certain essential ways. In both cases, the students and the instructor are animated, concentrated, focused, and active. Their investigation is tightly focused on the works under discussion, and the group together reaches for a sense of the artworks as a whole. At the end, when the participants cluster around the works of art, still wanting to continue the experience of discovery, the instructors know that theirstudents have understood that engagement with a work of art is a beginning, not an end.The opportunities museum educators have to teach and learn are granted to us by the collections of objects in the care of the institutions in which we work, and by the students and visitors we invite to consider these objects. These artworks also impose upon us a great obligation, to bring them alive for those we lead through the galleries. For ultimately, it is our devoted attention that keeps artworks alive generation after generation.This essay is the result of our work as museum educators. It began with a casual discussion about what constitutes good teaching, and what we can do to guide ourselves and our docent colleagues toward consistent and principled teaching in our museums. We... (shrink)

The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted by (...) Charles Peirce, including those of connotations, and signals referred to as basic perceptive integer units forming an individual level. (shrink)